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What might we discover by drawing the spaces between us? Situated in the field of drawing research, the thesis begins to articulate the term dialogic drawing through the development of the Drawing Encounter. Building on David Bohm and Martin Buber’s work on dialogue and encounter, the Drawing Encounter (using drawing rather than speech) is a new method to elicit tacit elements of one-to-one social interaction. The research is largely situated in the public arena where the author met strangers using collaborative drawing as a means of interaction. The drawings themselves prompted conversations about meeting in this way. Locations for the meetings included several train journeys, an arts therapy centre, an international conference, a drawing exhibition and an art college. Throughout the inquiry drawing was employed to collate, analyse and synthesise the data generated by all the research activities. The thesis presents significant encounters and drawings with participants’ commentaries and references to Bohm’s model of dialogue and Buber’s notion of the between. The drawing strategies that emerged during the inquiry are discussed in methodological terms in the context of naturalistic inquiry. The findings propose that by providing a novel means to facilitate and interrogate one-to-one interaction the Drawing Encounter method can enhance existing personal and professional relationships. Findings from researcher facilitated encounters indicate that the method has potential for applications in educational and professional situations where intra- and inter-personal issues are relevant. The thesis expands our understanding of visual arts processes as methods of creative inquiry by articulating the role of drawing as a research strategy and a materialising practice. It suggests that visual analogy can address pressing questions of human co-existence, by showing how what we do in the spaces between us can help us remain individuals yet still feel connected.

This is a study to determine whether the teaching of isometric drawing will affect spatial perception.

This is a collection of essays revolving around concepts pertinent to my current visual arts practice, centering on a deconstruction of personal narrative mythologies. What is generated is a web of connection that spans Narrative Modes, Science Fiction, the use of Lines and Drawing, the Digital and Space and Time. Through this interweaving of topics, I am beginning the process of rebuilding the structure of a personal story for the future.

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Thesis. 1975. M.Arch.--Massachusetts Institute of Technology. Dept. of Architecture. / M.Arch.

草圖繪製是創意產業最早期的一個工序。研究發現，草圖不但表達了畫家的想法，在繪製的過程，草圖也能為畫家帶來新靈感，所以草圖繪製是不可缺少的工序。然而，原始的草圖包含許多不必要的筆觸，所以進行後期製作前，必須用線重新勾畫。傳統上，這個過程是費時和繁瑣的，畫家必須人手把每一條需要的線都重新勾畫出來。當應用到動畫創作的時候，由於涉及的草圖數量龐大，情況會變得更壊，所以有必要把整個過程自動化。現有的研究都視草圖勾勒為一個線條分組和曲線擬合的過程，他們會把相近而順暢的筆觸組合在一起，形成單一線條。然而，他們都忽略了視覺感知上的一個重要法則──格式塔理論中的閉合原理。格式塔理論是一個知名的心理學理論，解釋人類如何透過整合理解各種視覺元素。根據格式塔理論中的閉合原理，我們往往把各種分隔的視覺元素整合為一個封閉的形狀。在這篇論文中，我提出閉合原理比格式塔理論中的其他原理更能幫助我們理解草圖，從而提出了一種基於區域的方法來勾勒草圖。實驗結果發現，我的方法在保有草圖上封閉形狀的能力上比現有的方法更優勝。 / Sketching is the earliest stage of production in art and design. Sketches are useful in conveying and developing ideas. However, raw sketches contain unnecessary strokes and must be converted to neat and tidy drawings before moving onto later stage of production. Traditionally, this conversion process is time-consuming and tedious since it is performed stroke by stroke manually. The situation is even worse when it comes to animation production which involves a huge number of sketches, so there is a strong motivation to automate the conversion process. Existing works formulate the conversion process as stroke grouping and curve fitting processes, in which close and continuous strokes are grouped together to form single strokes in the resulting image. Nevertheless, previous works overlooked an important law of visual perception: the law of closure in Gestalt principles. Gestalt principles concluded from early visual perception studies demonstrate how human perceive visual elements as different groups of lines and shapes. It states that we tend to group elements into closed shape even when a gap exists. In this thesis, we utilize the idea of law of closure and propose a region-based approach to refine sketches. Experiment result shows that this method outperforms the existing methods in terms of the capability of preserving salient regions in sketches. / Detailed summary in vernacular field only. / Wong, Ka Wing. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 59-61). / Abstracts also in Chinese. / Chapter 1 --- Introduction --- p.6 / Chapter 2 --- Background --- p.8 / Chapter 2.1 --- Role of Sketch in Art and Design --- p.8 / Chapter 2.2 --- Characteristics of Raw Sketches --- p.10 / Chapter 2.3 --- Related Works --- p.11 / Chapter 2.3.1 --- Methods for Raster Image --- p.12 / Chapter 2.3.2 --- Methods for Vector Image --- p.14 / Chapter 2.3.3 --- Deficiency --- p.17 / Chapter 3 --- Gestalt Principles and Its Application --- p.18 / Chapter 3.1 --- Introduction to Gestalt Principles --- p.18 / Chapter 3.2 --- Existing Computational Model of Gestalt Principles --- p.20 / Chapter 3.3 --- Gestalt Principles for Outline Tracing --- p.22 / Chapter 3.3.1 --- Similarity --- p.23 / Chapter 3.3.2 --- Proximity --- p.23 / Chapter 3.3.3 --- Continuity --- p.24 / Chapter 3.3.4 --- Regularity --- p.25 / Chapter 3.3.5 --- Closure --- p.25 / Chapter 4 --- Proposed Method --- p.27 / Chapter 4.1 --- Multi-scale Region Retrieval --- p.28 / Chapter 4.1.1 --- Construction of Region Hierarchy --- p.29 / Chapter 4.1.2 --- Region Refinement --- p.31 / Chapter 4.2 --- Salient Region Retrieval --- p.32 / Chapter 4.2.1 --- Flattening of Region Hierarchy --- p.32 / Chapter 4.2.2 --- Region Merging --- p.33 / Chapter 4.2.3 --- Region Pruning --- p.37 / Chapter 4.2.4 --- Region Merging by User --- p.41 / Chapter 4.3 --- Outline Synthesis --- p.43 / Chapter 4.3.1 --- Outline Synthesis of Region-boundary Strokes --- p.44 / Chapter 4.3.2 --- Smoothing of Region-boundary Strokes --- p.45 / Chapter 4.3.3 --- Outline Synthesis of Feature Strokes --- p.48 / Chapter 4.4 --- Curve Fitting --- p.50 / Chapter 5 --- Result and Discussion --- p.52 / Chapter 6 --- Conclusion --- p.58 / Chapter 7 --- Reference --- p.59

This practice-based research project explores how a choreographic view of a physicallyinformed drawing practice can serve to articulate and generate new understandings of material relations between moving bodies and static, receptor surfaces. Using task-based studies and other systematic structures of working that activate the horizontal plane of the floor, the research reveals how different configurations of relations between bodies, surfaces, and materials such as charcoal and paper, can mediate and extend a reciprocal touch between body and surface. Rather than on the production of finished artwork, emphasis is placed on processual activity and the working conditions from which material and visual residues emerge as evidential remains of reciprocal touch. The research is organised around the key terms intersect, surface, and body that operate as working concepts and facilitate a way of organising the observations and findings of the practical investigation into distinct areas of enquiry while recognising that these areas increasingly overlap and complicate one another. The thesis is extended through a critical engagement with ideas of non-human agency and materiality developed in the work of Harman (2013), Bennet (2010) and Barad (2013) and a reconsideration of horizontality through Steinberg’s notion of the ‘flatbed picture plane’ (1972) which informs a choreographic view of drawing in relation to orientation and surface distribution. The thesis is further contextualised through a consideration of the choreographic conditions presenting in performance works of choreographers Trisha Brown, La Ribot and Janine Antoni that extend across choreography and visual art contexts. The thesis aims to contribute to recent discourse in the field of choreography concerned with how a co-presence of human and non-human forces can be incorporated into choreographic processes and how drawing can present as choreographic knowledge through a consideration of material agency in approaches to performance-making.

This thesis explores the ways in which the production and comprehension of drawn narratives are structured by metaphorical conceptualisation. The argument develops from the observation that metaphor theory does not account for the perceptual character of depiction. I begin by focusing on an overlooked distinction between "pictures that are metaphors" and "pictures that have metaphors as their textual content" made by Richard Wollheim. This leads into the elaboration of a theoretical model of depiction-as-metaphor, which contributes to analytic philosophy as well as metaphor studies. In the fourth and fifth chapters, I argue that common nonpictorial drawing devices including speech balloons and motion lines operate as reifications of cognitive construal operations. Applications of metaphor theory to comics have generally focused on identifying the operation of metaphorical structures previously proposed through research using linguistic corpora. This strategy is frequently employed in the thesis, but I extend it by bringing to bear a wider range of cognitive processes that highlight the role of visual perception in cognition. My theoretical framework synchronises the accounts of unconscious cognitive processes developed by, in particular, George Lakoff and Lawrence Barsalou, with philosophical accounts of depictive seeing as a self-conscious imaginative use of one’s own perception, amongst which the work of Kendall Walton is highlighted. The formal study of comics is replete with theoretical frameworks derived from linguistic models of signification, but much less attention has been paid to developing models that approach the artform as a species of drawing rather than writing or literature. My thesis contributes to redressing that imbalance. My synthesis of depiction and metaphor extends the application of metaphor theory to drawn multimodal texts. The challenges it proposes to the Lakoffian model of metaphorical cognition are in keeping with contemporary scholarship, and contribute to the ongoing work in understanding metaphor’s central role in cognition.